History of Bangladesh Rock - The Legacy of Azam Khan-Libre

History of Bangladesh Rock The Legacy of Azam Khan
Maqsoodul Haque Mac 2013

REMINISCENCE

HISTORY OF BANGLADESH ROCK THE LEGACY OF AZAM KHAN

Maqsoodul Haque Mac



Part 1.

1. Baptism in Fire: From Guerrilla to Rock Hero
It was a rain drenched night in June, 1971. A three-man squad of fierce Mukti Bahini
guerrillas has been crawling head down for well over an hour. A well fortified Pakistan
Army forward bunker in Saldah, Comilla, is their target. Earlier they had walked
nonstop from their secret camp within liberated Bangladesh for 4 hours. Exhaustion,
blood sucking leeches, mosquitoes, insects, and slimy mud covering their bodies,
made progress slow and tortuous. Pain numbed their senses and snakes were
everywhere.
Worse, the only homing element to target the enemy was beacons coming off several
Petromax lamps (hejag batti in Bengalee) visible only as a blur in the distance. The
orders from the Sector Commander were precise. Crawl till the enemy is sighted and in
line of fire before executing the ambush. Optical illusions made figuring distances
exacting. The element of surprise could not be betrayed. This was to be the young
warrior's baptism in fire.
Yet it was the guerrillas who were in for a bigger surprise, almost to points of
bewilderment. Before they could figure out and gather their bearings, they realized
that they were less than half a meter away from target! From their vantage point, on
the top of the bunker and about three meters below, they saw the dreaded enemy. Six
burly Pakistani soldiers huddled together for dinner under a tarpaulin cover.
The rain was bearing down hard - and no, there wasn't any sentry on duty. The
guerrilla's, heart thudding with excitement waited. They had to be doubly sure. Those
were early days of the war, and weapons were few. The leader, a Section Commander
of this special ops squad clutched a vintage World War II 9 mm Sten gun with an extra
magazine of bullets. The others had a pistol and 4 grenades between them. In awe
they eyed the enemy's assortment of weapons.
They soon realized this was no ordinary bunker. It was a heavy machine gun nest!
They had to go for a precision kill, so the leader signaled his comrades to lie perfectly
still until he opens fire. Rising stealthily from crawl to a crouch and then standing
upright he readied his weapon. The enemy had only to look up and they would have
seen him, but they were in midst of a happy pre-meal chit chat.
Wafting in the air was the aroma of beef, rice, lentils and generous amounts of salad
and vegetables. The guerrillas felt a stomach cramp. They hadn't eaten proper food in
months since the war began. They were hungry and it was distracting. With seconds
to go, the leader was overcome by sense of remorse and pity. It was after all going to
be the last meal for the Pakistani soldiers, so he let the enemy gulp a few morsels of


food. The other members of the squad were getting anxious by the seconds because of
the delay.
The leader steeled himself for the kill and with his great sense of wry humor, thought
quickly; 'How about singing them a song, in a language the enemy understands before
they die, a befitting goodbye'? He chose a 60's Hindi film song popular in East Pakistan
and India.
And so it was with his shrill voice and the song - 'eisa mouka phir kaha mileyga' (when
will I ever get a chance like this again) a staccato of rat,tat,tat,tat,tat .Sten gun fire
pierced the silence of the night. The first magazine was emptied. The enemy had no
chance and as they lay moaning, the second magazine of 28 bullets was swiftly brush-
fired in a final coup de grace.
The operation was over in less then five minutes. Before they retreated to base, the
final count was six Pakistani soldiers shot dead, several weapons captured and the
bunker blown up.
The 21 year old guerrilla leader and a Section Commander of Sector 2, on the secret
mission was none other than Azam Khan a.k.a. Mahbubul Haque Khan who passed
away in Dhaka on Sunday the 5th June 2011 aged 61.
Successive Governments post-1971 made a sordid mess of our history. Each new
version had to be colored to accommodate requisite post-Independence political
expediencies. Although Azam Khan participated in no less than 30 frontal fights and
innumerable hit-and-run operations during the war, not much is known or
documented about his valor and heroism during the 1971 Bangladesh War of
Liberation.
It is thought that his pre-war leftist orientation was the reason why he never received
a gallantry award. After the war, barring a handful, he maintained a discreet distance
from the rest of his former comrades. Whenever he spoke of the Liberation war his
words were limited only to details of how he left home and his return. At most he
would describe his training in Melaghar, Agartala. That was all.
It therefore took me years of persuasion for him to come up with the first person
account above. Sadly it's the only one he ever divulged to me and that too because of
my insatiable curiosity. There were other reasons why he chose to maintain his stoic
silence.
He explained to me in 1992: while the Mukti Bahini was a guerilla force it nonetheless
fought under a formal and structured military chain of command divided into sectors,
sub-sectors and sections. True, they were a rag-tag group of irregulars and volunteers;
however the call of war meant the participants had to undertake an oath of secrecy.
They were soldiers for the Nation. It was an oath he chose not to renege upon for as
long as he could.


During my intense probing on the subject, there were times he would give me an
anguished look and much to my frustration, slip back into deafening silence.
Since official war citations were rarely if ever recorded, he loathed the emerging hero
worshipping cult of 'Bir Mukti Joddhas' (heroic freedom fighters). He found it shocking
and reprehensible that some of his former comrades were game to megalomania. Many
were going about dishing stories of their exploits in the War, with some exaggerating
way out of proportions in breach of the oath of secrecy.
In 1992 in sheer despair he told me:
'When your mother and sisters are raped in front of your eyes, your father and
brothers mercilessly tortured and killed; you do what you have to do. Fighting for
the motherland is no obligation it's a duty. In fighting the war, I did no 'favor' to
my Nation neither do I expect any favors for what I did in return'
2. Bangladesh Post 1971: Emergence of the Rock Hero
To understand Azam Khan and his music one has got to look at the way the World
was shaped in 1971 and the tumultuous events that followed in the years thereafter. It
was nearing times for the Vietnam War of 21 bloody years to come to an eventual
conclusion (1975). In the US, a new movement evolved to address the consciousness
of the young. Disparagingly they were termed 'hippies' in other words social
outcasts, riff raffs, good for nothings.
War and senseless brutalities was no longer fashionable. When millions thronged The
Woodstock Concert - 3 Days of Peace and Music in 1969 all our rock heroes from
Santana, Rolling Stones, Sly & The Family Stones, The Who, Crosby Still Nash &
Young (CSNY), Creedence Clearwater Revival (CCR), Jimi Hendrix, even Ravi Shankar
participated. With screams of FREEDOM, the mass assembly was a peace missive
fired by citizens of America, aimed at the Soul and Conscience of all Mankind. The
White House turned a deaf ear to it all. Music meant nothing or so it thought.
Never officially acknowledged by the Bangladesh Government were efforts by likes of
Ravi Shankar, Bob Dylan and George Harrison in 1971 to garner support for our
Liberation War and the plight of millions of refugees then in India. On 1st of August
1971 over 40,000 people thronged Madison Square Garden in New York and George
Harrison's epic rock rallying anthem 'Bangladesh' would instantly propel him to the
center stage of world history. The triple album on the concert went gold in days after
its release.
It was a 'worlds first'. A concert to raise awareness is tough call when the issue is
political. Holding the concert in US soil with its Government opposed and hostile to
the just cause of our people was an even more daunting challenge. In today's context
it would be equal to rock musicians raising funds in a 'Concert for the Talibans in
Afghanistan' in Los Angeles!


Had there been no Concert for Bangladesh, the war mongers in Washington would
surely have intervened to assist the Pakistan Army in days ahead of our liberation.
Victory for us just didn't mean the surrender of the Pakistan Army in Dhaka on the
16th December 1971, a flag and a map. Largely erased from our history and public
memory is the humiliating withdrawal of the US Navy's 7th Fleet armada stationed in
the Bay of Bengal.
The Concert for Bangladesh changed music globally. World Music became what it is
really meant to be bullets hitting the Soul of conscious people and thereby forcing
changes in lifestyle and attitude among the masses, as also policies of Governments.
3. Cultural Renaissance: A generational revolt for freedom of expression
It was precisely the time for the US, Europe and rest of the West, to lap up Indian
Classical Music which has gone on to establish its firm grip thereafter. Ravi Shankar,
Ustad Alauddin Khan, and Allah Rakkha popularized the Sitar, Sarod and Tabla.
Similarly, Indian Guru's and Sufi preachers were the rage and gave comfort and
counseling to those in spiritual ill health in the troubled times.
Azam Khan had an earlier fascination for The Beatles and George Harrison in
particular. It was only natural for him as a freedom fighter to acknowledge
wholeheartedly his (Harrison's) huge contribution to our cause as also, his pure
spirituality.
Rock until the late sixties was unheard of in our part of the world in its native
language. 1971 is significant. We had entered a truly happening global cross-cultural
exchange phase in the history of the world. The fall-out in Bangladesh was marked in
the persona of Azam Khan. Guitar, drums and keyboards made its bold entry into our
cultural domain.
Accusations of cultural revisionism were in the air. Our elders and the teeming middle
class in general, not familiar with the emerging new soundscape gave it a sinister label
'Oposhongskriti' or counter-culture. The parochial and stagnant notion of mainstream
Bengalee culture from our grandparent's times was set to be literally brutalized into
much needed reforms. This was going to be no win-win situation for rockers, therefore
politicized and abusive culture vultures were deployed by the establishment to
confront the disquiet.
However the shape, definition and course of culture would change for the better in the
years to come, and something our puritanical patronizing cultural cognisanti could
ever imagine - not even in their wildest dreams. Never in history did Bengal ever have
a renaissance of such a magnitude.
It is therefore absurd to even suggest that anybody other than Azam Khan could have
risen up to the occasion and taken on Rock's mantle on his lean shoulders for yet -
another fight. He bore all insults and ignominy heaped on him with fortitude,


resilience and humor. He was the penultimate hero. Neither his credibility as a front
line freedom fighter nor his patriotism could ever be questioned. The simplistic yet
powerful messages emerging from his songs could not be rubbished. The son of the
Muses in Bengal had arrived and he was destined to change our attitude and
importantly the music scene of our country forever.
Nothing in the world stood between him and his mission. This was to be no guerrilla
theater; it was far more arduous and hazardous than bargained for. The Government
of the day as much as our parents was uneasy with this errant yet mercurial former
freedom fighter.
What unfolded would change the course of our cultural history forever.
4. The Jhanki Philosophy : Azam Khan's meteoric rise
People without a basic education in Western Music or culture term Azam Khan's
music as pop. Some have gone further than that, and have branded him either a 'Pop
Guru' or 'Pop Shamrat' (Emperor). Nothing could be more ridiculous and for records, he
despised both terms.
Pop as a word may mean 'popular' yet as a genre it has an altogether different and
negative connotation; 'crass' - as in 'unrefined as to be lacking in discrimination and
sensibility'. To explain it further, Pop music is wall paper music. It is neither painting
nor sculptor i.e. it has no permanence. Shelf life or public memory for pop does not go
beyond 3 to 5 years. In today's Bangladesh it is not unsurprising that pop music
attracts huge public following. A 'one-time-use product', media overkill and corporate
packaging guarantee skyrocketing sale and that too for a very limited time frame. Pop
projects and propels less than mediocre idiots to 'superstardom'!
Azam Khan's music is all about what pop is NOT. It has lasted for over 38 years and it
will last for centuries. Yes Azam Khan was 'popular' but so were Nazrul and Tagore
but can anyone dare use the term pop before their musical genre? Also do we ever
hear about our 'pop Prime Minister'!
Rock on the contrary, is just not a Western musical genre. It is a comprehensive
philosophy and lifestyle statement, which at its finest rejects status quo,
establishment i.e. any form of exploitation or subjugation of fellow man. It is a
derivative of the words 'Rock and Roll' or to shake and rattle listeners to act, free their
spirit, wake up and rise up in revolt against all scum's of the earth.
On the flipside it is also a self-destruct philosophy and it isn't as if Azam Khan was
unaware of it. He had volunteered for several hazardous near-death encounters during
the Liberation War and survived. Our Liberation, as far as he was concerned, meant
just the culmination of many skirmishes the final battles were never fought, the war
as such never ended? Independence means freeing the Nation ensnared in mental


slavery and as in War and so in peace; he chose to take sides with the toiling masses.
His weapon would be Music.
It is only appropriate that Azam Khan gave the philosophy an amusing Bengalee
coinage 'jhanki o dola' later settling for just 'jhanki' or Rock. His favorite quip
whenever he saw me was 'jhanki ditey hoibo' (we gottta rock it)! How more 'Western'
can you get to describe Rock in Bengalee than just that one punch word 'jhanki'?
In retrospect I think it was simply brilliant!



Part 2
5. The Making of an Icon
By mid-1973 words spread like wildfire in the youthful underground about the
emergence of Azam Khan and how he has taken on the establishment of the day. As
has been the case with many legends, the messages were mixed and some in mythical
proportions. Most of it was disapproval and personal attacks on his lifestyle statement;
unkempt long hair and beard, the symbols of revolt and defiance to parental authority.
Others were guarded whispers that grew louder and scarier. The two words that our
parents feared the most 'drug addict' would haunt and malign Azam Khan quite
unnecessarily.
Over all the words were about his mesmerizing presence on stage and the spirituality
attached with his first big hit, 'Hey Allah Hey Allah Rey'. While he tackled the demons
within him, he took pain to spread the word of Love and Peace as well as a firm belief
in one God. In 'Char Kolema Shakkhi Debey Hazrat er Ummot' he was shedding off hate
in his heart that the nine months long war had accumulated as a debilitating residue.
He was expiating. He exposed the cult of fake Fakirs and frailties of fake lovers, in his
song 'High Court er Mazar' and the refrain 'ei je duniyai - manush chara kichui nai'
(nothing greater on earth than Man) - reaffirmed his spiritual connection to the
ancient Bauls of Bangladesh.
Azam Khan's secretive nature notwithstanding, his covert connections to the
Maizbhandari Sufi order of Chittagong could never be confirmed. It is possible that he
did have an informal orientation. His closest friend at the time was Feroz Shai and in
many concerts they jointly performed the scintillating hymn 'Gausal Azam baba Noor e
Alam, tumi Ismey Azam baba, taran e wala'. Azam Khan confirmed to me that it was
he that added the word 'Shai' (the wise one) to A.K.M Feroz Alam's name. Feroze Shai
would go on to propagate the Maizbhandari lip-to-ear school of Sufi thoughts in his
first hit 'Gausal Azam Maizbhandari school khuilyacchey'.
Despite all the positive razzmatazz and deeply absorbing spirituality discourses of the
day, there was no denying the Marijuana (Tetra Hydra Cannabinaloid Delta 2,
cannabis, Ganja, Shiddhi, weed etc) epidemic overpowering the Nation that led to
endless and senseless debates and controversies. It was also a double edged debate.
Marijuana was officially a 'Government approved controlled substance', freely available
and no one could be criminalized for either its possession or use!
Reminiscing the times, I wrote an academic piece "Substance Abuse Marijuana: When
Honesty is the only crime" in the weekly HOLIDAY (a sister publication of New Age) in
July, 2001:
"All grade of narcotics from Marijuana, Alcohol to Heroin had imbibed the fighting
spirit in mans history, and to deny that, would be denying history. Fifteen
hundred years ago before prohibitions on Alcohol came in the Quran, the earliest


participants in Islamic wars such as Badr, fought infidels and embraced
martyrdom, high on Alcohol.
Marijuana was inducted to our young in the historic 1971, because it was also for
the first time that large number of city-bred young left the confines and security of
their homes for rural village communities. They lived, trained and fought for
independence in villages where Marijuana was to a large degree socially
acceptable. Its contribution to our Liberation War therefore must be
acknowledged, because I personally know of at least a dozen past Mukti Bahini
guerrillas who went into battle 'stoned out of their mind' to beat back fear and
pain.
Our drug epidemic started from a generational divide, the lack of understanding
and empathy, as also abject illiteracy of our pretentious literate, and its failure to
address a growing social and emotional crisis that was affecting the young. The
trauma of the War of Liberation in 1971 and the return of our war weary young
men and women back home saw the induction of Marijuana - a natural drug, into
our society at large.
To this day in the US; Korean and Vietnam War veterans regularly seek and
receive psychological counseling. Conversely there were many cases of suicide
among our glorious fighters who were unable to do anything to counter
flashbacks of their bitter experiences in war. Yet none of our guerilla warriors
were ever provided any counseling for the immense mental trauma and agony
that this devastating war entailed on their psyche. Marijuana was for them the
only escape to heal, or so they thought.
Therefore when the rock icon and former Mukti Bahini guerilla commander Azam
Khan sang, his epic song 'Frustration' in 1973-74: 'jaala jaala jaala shudhu
monay ree, jaala jaala jaala shudhu pranayree' (Burn, burn, burn my mind
burns, burn, burn, burn, my Soul burns) we exactly knew what was on fire and
what was 'burning'.
Not acknowledged then; Azam Khan was indeed rendering a unique social
service through music. He was sending desperate signals of the young that were
pleading for help. The establishment of the day or our parents in general, retorted
that what has been set into motion by the 'notorious rocker' is only an effort to
make a 'great fashion' out of frustration. Azam Khan's known Marijuana abuse
did not help the situation."

It was summer of 1973 while preparing for my Matriculation exam that I first went to
see Azam Khan LIVE in a Concert. Most musicians backing Azam Khan were members
of the famed Windy Sides of Care. They were the best in the business in those days,
and played heady live cover versions from Santana to Deep Purple and even Chick


Corea at the Chambeeli Room, a 100 seater chic restaurant and dining facility with a
band stand, at the then Hotel Intercontinental, later Dhaka Sheraton and now Hotel
Ruposhi Bangla.
The musicians were Idu on Drums, Ishtiaque on Lead guitar and my friend the late
Larry Barnaby on Bass, Nilu on Rhythm Guitar, Gabriel on the Keyboards and the
unforgettable Babu on Tambourine and vocal harmonies. If anybody knew anything
about rock in Bangladesh back then, it was them and with Azam Khan they blended
perfectly, creating an entirely new genre. Bengalee Rock as a LIVE phenomenon had
arrived.
I wrote in "Transitions: Notes from Dhaka's Historical Underground" in New Age in
2005:
"In independent Bangladesh the global concept of freedom couldn't have had a
better time. Marijuana smoke hung like a 'thick cloud' from the floor to the roof of
the Engineers Institute auditorium in 1973. With audience chanting 'Gausal Azam
hoo hah' in the psychedelic haze, on stage would appear a Christ like figure,
bearded and hair flowing past his shoulder. He was a former Mukti Bahini
guerrilla Commander. His name; Azam Khan, and he proceeded to blow our
minds with music from his band Uccharon and shape our fearless attitude much
to the consternation of our parents."
6. From Audio to Video
What followed next was a two single 33 rpm record. 'Orey Saleka, Orey Maleka, Orey
Ful Banu parli na bachatey' and 'High Court er Mazarey' went on to establish Azam
Khan as a household name. His Concerts nationwide were packed to capacity and
often tethering dangerously at the seams. His fan following was wild and enthusiastic
and it wasn't uncommon for fights to break out as they attempted to gain entry into
Cinema halls and auditoriums to see the legend. Worse was to follow.
A gunfight outside the Jonaki Cinema Hall in Dhaka while his concert was ongoing led
to one death and several injuries. The Police Force in those days were ill equipped and
in no way trained to deal with music fans. Bad press further eroded Azam Khan's
reputation but indomitable Bengalee Rock nonetheless moved on to newer heights.
It was sometimes in 1974 that Professor Abdullah Abu Sayeed a charismatic teacher
of Dhaka College would host a show for entertainment starved Bangladesh in the only
TV station available then. The state run BTV was conservative and feudal to a fault. So
it was a welcome surprise and filled us with great pride when an announcement was
made that the show next week would feature Azam Khan and his band Uccharon!
We waited with bated breath in front of our Black and White TV screens. When Azam
Khan came on, he was at his elements. Head banging in raptures he opened with
'Orey Saleka, Orey maleka' followed by (my all time favorite) 'Ashi ashi boley tumi ar
eley na'. As he came in for the last of his three-song set, he made an elliptic


announcement. 'This is a brand new song dedicated to the dead or dying' WHAT? We
were zapped and electrified with what came next.
The heart rendering cry in his voice and refrain - 'Rail line er oi bostitey jonmechilo ekti
cheley, maa tar kandey, cheleyti morey gachey, hai re hai Bangladesh' made our
blood curdle. The song 'Bangladesh' was a monster hit and went right through the
roof. But that was not all. The Government of the day had underestimated Azam
Khan's fan following. Millions were tuned in to watch the performance.
As BTV didn't have VTR (Video Tape Recording) facilities, it meant programs were
uncensored, real-time LIVE! By evening of the next day the song was on everybody's
lip and even our parents and elders were moved by the fact that somebody focused
attention to the sad events surrounding our lives. It was an epochal man-made
disaster and one Azam Khan had predicted would be erased from our history, the
great famine of 1974 in which an estimated 1.5 million people died of hunger. His song
would relive and commemorate that period of infamy; and the only song to date about
the famine.
The poignant lyrics for 'Bangladesh' was written in the backdrop of Azam Khan's being
eye witness to hundreds upon thousands of starving people arriving in Kamlapur
Railway Station from all over the country and then dying. He lived a walking distance
from the station and the helplessness of it all paralyzed him. He gave away all the
money he earned from music to the destitute, but the underlying tragedy of the 1974
famine was; money could no longer save lives. The Taka because of devaluation was a
worthless currency.
The poor, dispossessed, marginalized and distressed would ONLY beg for food and all
hell broke loose. The unending cry for food and little children and elderly dropping
dead was happening in unison. It was maddening and the sight of a mother wailing
over the body of her toddler, a common phenomenon in those times, moved and
overwhelmed the sensitive Azam Khan.
Compounding to his woes, the song led to an unofficial ban being served on his
performances by the Government run BTV. His strained relationship with the Late
Sheikh Kamal (a freedom fighter and eldest son of Bangabandhu Sheikh Mujibur
Rahman), were to be severed forever. Further Marijuana abuse and his distraught
condition made a nervous breakdown inevitable. He was interned for weeks at the
Holy Family Hospital.
Regaining his health took a long time and in the subsequent days of 1974 until 1975
would see Azam Khan in dire straits. He had lost his back-up band during the time he
was interned and political and societal pressures were intense. Alienation and
rejection was complete. There were no concerts and a rumor circulating much to our
dismay was he was suffering from oral cancer. It proved not to be true as a few


months after the assassination of Bangabandhu on 15th August 1975; Azam Khan
took upon a new challenge.
He gave a press statement about reforming Uccharon and that was not all, he was
looking for and has found fresh young musicians; but NOT from his own generation. It
wasn't an easy decision. His back-up band and musicians from Windy Sides of Care
were thought by many to be irreplaceable. Most had earlier either by choice or
compulsion joined the Sheikh Kamal backed and inspired band Spondon.
Others moved to regular employment in performances that the Hotel Intercontinental
offered. Studios hired many as session musicians. Ego conflicts, jealously and petty
disputes led to some of his closest musical allies abandoning him. In a round about
way, money, interference and political machinations managed to split Bengalee rock
right through the middle.
Although dejected, Azam Khan was undaunted. He threw in his lot with an emerging
new generation of rockers and was confident about their talent and abilities. Through
the legendary rock-guitarist the late Noyon Munshi he sent words to the house band
playing cover music at Dimple Restaurant (near where Arong is located in
Mohammadpur today) about his plans.
Foad Nasser Babu on Bass and Pearo Khan on Drums (now in FeedBack), together
with Dulal on Rhythm guitar readily agreed. It was an umpteenth honor to play with
an icon and they pulled their lot behind Azam Khan. He didn't want any keyboard
player so that's how things were. Three guitars, drums and vocals were good enough
to kick up a storm. Rehearsals started quietly by the October of 1975. Given the
political crisis and wind of change sweeping the country, Azam Khan readied himself
for a new role, that of a modern day minstrel of rock.
By early 1976 he was back with a bang and once again stole the limelight in a five
song special for BTV. This was a clear signal that his bruising psychological duel with
the establishment was all but over. They had to capitulate given the sheer enormity of
his fan following and the power and appeal of the extra-ordinary new songs that he
had recorded at Ipsha Studios with his new line-up.
When he came on screen, we were however in for a rude shock. He had cropped his
long hair short and his clean shaven look made him unrecognizable! No, he wasn't cut
out at all to be a rock and roll renegade so what we were seeing was only visual noise
and one we had to get used to. The 'new look' incidentally stayed with him till he died.
Markedly different were the new songs: 'Alal o Dulal, 'Je meye chokhey dekhe na',
'Prem chiro din durey durey ek hoye thak na', and the only semi-classical experiment in
his career, 'Amar bodhua ki gaitey janey gaan'. The revolutionary rock hero had
simmered down considerably. None of the anti-establishment rhetoric's or spirituality
in his early music was noticeable any more, but it wasn't the case that he discarded


his earlier songs altogether. The new line-up made further improvisations on the old
songs which led to larger outreach to his fan base.
Over all he concentrated on melody and what we were in for was a huge dosage of
unrequited love songs that would firmly place his music amongst the greatest
Bengalee romantic songs of our times. A new era for Azam Khan and music in general
had dawned.
It would be short lived.



Part 3
7. A Big-Brother for life
It was winter of 1976 and I had made plans to hang out with my friend Popsy the-then
drummer for FeedBack. He called me in the afternoon to postpone our plans as there
was an out of town concert. He was playing back-up for Azam Khan and knowing of
my obsession for the man, asked if I was interested to come over to see the rehearsal
instead? How could I ever refuse this God sent opportunity! I begged Popsy to
introduce me to the great man. 'That's no big deal Mac; Azam bhai has no star
pretensions. He is very simple, straightforward and down to earth. Don't worry about a
thing just come right over' Popsy retorted before hanging up.
By the time I reached the practice pad at 181 Bara Maghbazar at Foad Nasser Babu's
place, the sound of music told me the rehearsals were already under way. Carefully
opening the half shut door at the entrance I tip-toed in and sat on the floor. I felt my
eyes getting moist with pent up emotions. Whoaaaaaa..finally face-to-face with
Azam Khan? I pinched myself for a reassurance that I wasn't dreaming!
In the room was Popsy on drums and other members of FeedBack. Murad Rahman on
Bass, Dr.Zakiur Rahman on Rhythm guitars (he was my predecessors as lead vocals
for FeedBack) and Foad Nasser Babu who had by then switched to Keyboards.
Ishtiaque from the old Uccharon I was told would meet up with the band directly at
venue of the show to play Lead Guitar. I sat back and watched the maestro at work. It
was a spell binding experience and an education as how to be a pro-active band
leader.
Despite fact that there wasn't any PA system to support his voice clashing with all the
electronics, he was in control. Asking the band to tone down and reduce volume, he
quickly went through the ten-song repertoire and I was amazed at his professionalism.
His eye contact and hand signals were a class in itself. He did not tire himself or the
band by going through the songs repeatedly; instead focused on the areas where there
were confusions or if things needed further polishing. He insisted that by playing very
loud, nothing could be perfected and noise would mar their hard efforts. 'Rock is not
noise; it's a circularity of punches. Make sure you get to hear the punch you deliver'
were his polite words to the band, and one I would take heed for the rest of my life.
In about an hour the rehearsals were over. Popsy and Murad introduced me to him
saying I was an English language vocalist. He cursorily wanted to know the songs I
was covering and the name of the bands. I babbled off a long list and he in turn gave
me an amused look! 'That's a lot of songs, but how about Bengalee?' Nah - I shook my
head. 'Do give it a shot, after all it is your mother language' he said in the passing. After
a few short words by way of briefing about the timing and venue of the show to the
band, he ambled out, took a rickshaw and was gone. His simplicity and humility were
worth taking lessons. I was on a learning kerb.


8. Rock on the retreat
By 1977 several military coups and counter coups later, General Ziaur Rahman was in
power. A former Sector Commander in the Liberation War, his men were out on the
streets in aggravated moral policing. Long hair was banned and those foolish enough
to sport them without knowing, (including the author of this piece) had to face
humiliation of locks being sheared off in public. Azam Khan's concerts and public
appearances declined. By the end of 1976 his new band the second generation
Uccharon on whom he pinned so much of hope, folded up.
Guitarist Noyon Munshi would leave for Canada the same year never to return. He
died in a car crash in 1981. Windy Sides of Care broke up in 1976 as well with its
prolific drummer Idu leaving for the US. Its Bassist Musa Rahman tried to reform the
band but never succeeded. Foad Nasser Babu and Murad Rahman moved ahead and
formed FeedBack to fill the gap caused by Windy Sides of Care's departure. They were
soon to become the resident band at the Chambeeli Room in Hotel Intercontinental.
With all that happening, Bengalee rock all but evaporated by the year 1978.
Survival meant to be able to perform LIVE or have a regular presence in the BTV.
Azam Khan's notoriety as a 'couldn't give a damn' rocker led to his growing
unpopularity with the Military dictatorship. Both avenues of expression were barred.
Police permissions would not be granted for his LIVE performance added to that the
sycophancy, co-opting and active collaboration with the Government of the day by his
contemporaries in the Music scene, led to vulgarities and dirty politics.
Azam Khan would have none of that and although he was broke, money and fame for
him was secondary, the mission more important. However, victory was to prove elusive
so he went on a tactical retreat, became a recluse and sulked. Although he said he
was 'resting but not retired, the tragedy was true to rock traditions; he had embarked
upon a self-destruct trajectory. Fond of good Whiskey, the dark times led him to hit
the bottle a trifle more than he usually did. A rumor circulated about him turning
alcoholic and this time around there was some truth.
Quite understandably a financially strapped Azam Khan would not refuse any shows
that came his way. He never held a job or a second profession. Music was his bread
and butter so the young guitarist Rocket, would play an important role at the time to
source musicians for him and schedule rehearsals.
Incidentally, for as long as he lived, he had no dearth of talented musicians all eager
and waiting in the wings to back him. Even with all that reassurance, concert
organizers, music distributors and several so-called 'stars' masquerading as well
wishers cheated him. He knew exactly what was going on behind his back; but never
complained publicly. He accepted it as his fate.


A depressed, angry and vulnerable Azam Khan would sometimes appear on stage tired
and totally inebriated and in no shape to perform. His musicians started filling and
would sing his song when exhaustion overcame him on stage. A delusional 'Guru
worshiping' cult emerged around the time and made things worse.
These were cronies and hanger-on's overcome by the aura of Azam Khan but had no
idea either about his music or his contribution in the Liberation War. Sadly they were
a bunch of hooligans whose aim was to create chaos in the few and in-between
Concerts he was invited to perform. They demanded free entrance and provoked
violent incidents in Concerts. Further compromising and eroding his popularity,
credibility and thereby reputation were most of these elements would light up
Marijuana joints openly in his concerts. The Military in power was not amused.
To many it would seem that Azam Khan had created new enemies and he was
powerless in correcting the situation. As far as the establishment was concerted he
was trouble. Good fortune continued to elude him despite his best intentions.
Concerts by Azam Khan were few and in-between and held in district towns whenever
opportunities availed, but only under strict surveillance of Intelligence agencies. To
make things easier in getting permissions, organizers would invite heads of District
Administrations to 'grace the occasion' as Chief Guest! It was in Noakhali that one
such Chief Guest; the Deputy Commissioner put a stop to his show and ordered the
curtain pulled. In desperation Azam Khan jumped up and held on to the moving
curtain Tarzan style and with his shrill plea of 'No, no please no' he was ejected off
stage.
In 1982 General Hossain Muhammad Ershad seized power and rock was set for
further destruct, degeneration and decline. He continued with the policy of his
predecessor General Zia by pampering a handful of corrupt artists from the post-war
generation of celebrities. Handing out largesse in form of money grants to create
'Music Academies' to taking them along on foreign jaunts as well as offering them
jobs in the Government was in vogue. Azam Khan while offered similar dole and jobs,
chose not to sell his soul or betray the trust reposed on him by the people. BTV
became a hallmark for all kind of crass music and Azam Khan slipped into near total
oblivion.
With all of that happening around him a seesaw with his health started. Concerned,
I went to see him many times during the period, but other than complaints of fever or
cold, he usually brushed aside all of that as rumors. He was brave enough never to
admit what was ailing him, instead with his great sense of humor drew anecdotes of
his daily trials and tribulations. I sensed correctly that more than ill health he was
depressed.
In between 1987 to 1990 a few albums were released, but one could make out that the
great Azam Khan Touch was amiss. He was merely singing other peoples song and had


no control over music direction. Financial difficulties meant he wouldn't refuse any
offer that came either from TV or music distributors. There was nothing new on offer
from Azam Khan and his popularity waned.
9. My indoctrination to Bengalee Rock
Although I joined FeedBack in winter of 1976, I wasn't present in the bands 1985
debut and self titled album 'FeedBack Volume I'. Azam Khan thought it was due to a
misunderstanding within the band and so sometimes in 1986 he asked me over and
wanted to know why I wasn't doing anything in Bengalee. Typically I said that I find
the language 'khyat and Bengalee music not my cup of tea' and he flew into his
legendary and notoriously fearful rage. Before I knew it bam,bam,bam he had slapped
me resoundingly and squarely across the face!
'You snobbish imbecile' he roared to my red hot ears, 'if you think singing in front of
few rich and drunk people at a hotel makes you a musician boy you are dead wrong,
you are only a musical prostitute'.
Rubbing salt to wound, no greater shame overwhelmed me more in life, because what
he said next was prophetic, 'if educated guys like you with so many years of musical
experience can rock in Bengalee, the Liberation War I fought for would lead us on to real
Independence, the independence from narrowness of our vision, of our mentalities, and
there is not much more time that can be wasted now you got that?'
He was always affectionate, but on this occasion was stern and meant business, and I
recall softly asking him to pray for me. A big brother hug followed and 'chesta kor
chesta kor, Allah bhorsha' (keep trying, may God be with you) later I drove home that
rainy evening deep in thoughts. I had no way of knowing that my life was about to
take a 360 degree turn.
A year later in 1987 when Ullash by FeedBack was released I contributed six songs in
the album. The first thing I did was go over to Azam Khan, hand him over the cassette
tape, and with his pleading 'shon, shon, tham, tham' (stop, stop, listen, listen) make a
run for it!
A few days later I received a phone call. It was Azam Khan, and he mockingly
complimented me 'ki rey Englishman, shesh mesh Bangla gaan tui gaili?' (Hey
Englishman, so at long last you are singing in Bengalee?). I broke down into
uncontrolled sobs and it is the only time in my life I recall talking to Azam Khan
on the phone. Among his many eccentricities, his allergy for the device was legendary!
Although my association with Azam Khan was since 1976, we rarely met unless it was
for very urgent issues. If the occasion required, he had his way of summoning me to
his house through Tinku or Ejaz who would remain his trusted lieutenants till the
end.


Other than that we would meet at various concerts, social occasions and/or award
ceremonies. However, I have always felt a deep reverential bonding towards him. He
was not only a rock icon, he was also a well-meaning elder brother not only me to me,
but many of us in the rock fraternity. He did keep a track of what I was up to and
would send in his advice or admonishments, as the case would be.
He never made small talks and usually after giving me a patient listening, and with a
lot of respect for my political views his last words would be 'fight ta chalaiyya jaitey
hoibo we have got to keep the fight going. Later it would be just one word whenever
we parted company, fist clenched FIGHT!



Part 5
10. Seventeen Years Later: A new beginning not to be
In 1992, Azam Khan summoned me for a fight.
It was to be the reunion after 17 years of the five Khalifahs, the post-Liberation Rock-
Pop legends. Ferdous Waheed, Feroze Shai, Fakir Alamgir, Pilu Mumtaz and of course
Azam Khan. The timing couldn't be worse as my mother was stricken with paralysis
and in death bed. The organizers had no prior experience but they made that up with
their enthusiasm. The show was a week later and Azam Khan wanted me to guarantee
that I would take charge of everything from Management of venue (Engineers Institute)
stage, light and sound.
17 Years Later Circa 1992: LTR: Ferdous Waheed, Late Pilu Mumtaz (d.2011), Fakir
Alamgir, Late Azam Khan (d.2011) and Late Feroze Shai (d.1995)
When I met him, he was dead serious and spoke in crisp guerilla leader style diction.
'This is not a request; it is an order so give it all the fight you have got. There
should be no let ups, no slips and the show must be a grand success. We have
got to re-live those glorious moments 17 years ago when we stood like a rock and
rocked'.
Then he rose from his chair and dismissed me 'tui geli' (shoo).
'Yes Boss' and it was the only time in my life I stood erect and saluted him in parting.
'Good, very good'- he replied in English.
The organizers of the 1992 concert branded the show 'Shotero Bochor Por' or
'Seventeen years thereafter. It was meant to re-showcase the post liberation pop-rock
legends on one platform for a new generation of fans who had not seen them LIVE due
to their absence of seventeen years.
By the end of the 80's, rock in Bangladesh made a robust re-entry into our culture.
The Bangladesh Musical Bands Association (BAMBA) held the Nations first ever Open
Air Concert at the Dhaka University Campus on 16th December in 1990, a milestone
that would give rock a much needed shot in the arm.
Bands like Souls, Chime, Obscure, FeedBack and Renaissance filled in the cultural
space left vacant in the turmoil's between 1975 -1985. By 1991 MILES had launched
its first Bengalee album. Bengalee Rock was back with a bang and audience size had
grown manifold, with professionalism of the highest order in display. State of art
sound and lighting equipments replaced the entire paradigm of showbiz and the new
resurgence gave rock a degree of respect and credibility that continues to this day.
The organizers of the 'Seventeen Years thereafter Concert seized the opportunity of the
changed times and sincerely wished the event to catapult the legends of post-


liberation pop-rock to the national stage and sink the petty differences on legacy
issues that was ailing the aging rockers.
To that end Ashikuzzaman Tulu the band leader of Chime (and later Ark) was given
the responsibility of sourcing the best session musicians in town to have a common
line-up for all five of the legends. Rehearsals began in earnest and with less than ten
days to show time it was frenetic. The excitement and fever peaked three days before
the show after a press conference and all 1200 tickets for the concert at Engineers
Institute were sold out in less than 24 hours!
Azam Khan never showed up for the rehearsals and no one could figure out why? Tulu
called to request me so that I should go and find out directly from him what the
problem was. When I met up with Azam Khan, he was cheerfully ebullient and looking
forward to the show. However, he will perform in the Concert with his own line-up, the
band Uccharon and not with the professionals, the organizers wanted him to.
It became quite clear that he did not want to let down the very young, inexperienced
and unheard of musicians in what was going to be a once in a lifetime show for them
too. I respected his sentiments and informed the organizers. Azam Khan always had
his way with things and this time around, there was to be no exception. He wanted to
end the show and everybody readily agreed to slot him as the last act.
The show was scheduled to start at 6 p.m. I reached the venue at 4 p.m. with the
audience queuing up outside, the doors were still closed. Once inside, I was in for a
huge surprise. There was just one solitary figure in the green room; it was Azam Khan
and he had reached the venue by 2:30 p.m. ahead of everybody else!
A huge bear hug to me followed and he said that he had a good look all around the
stage as well as from the wings as also checked the equipments 'nothing can go wrong
tonight'. Later from his pocket, he pulled out a paper bag of jhaal moori ( chilies and
tomatoes spiced puffed rice) and commanded me 'now be seated and eat this. After
that, have a cold drink and cigarette with me before you get busy again'.
That was his simplistic way of thanking me for my untiring efforts of over 10 days.
11. Obsession with death
Between sips of Cola, we made uncharacteristically small talks, but he was merely
trying to read my mind. My mother was in deathbed, suffering from paralysis and an
operation did not make things any better. She could die any moment I told him. I was
depressed and disturbed. He shocked me back to my senses.
'What if she dies tonight, or within the next hour? Will you leave all of us when we are in
the midst of a fight?' I was stunned. Shaking my head, I said no. Come what may, I will
see the fight, the show right until the end. He was compassionate to my plight, but
made me focus on the larger objective of the night.


He tolerated no weakness in spirit and pointed to the shirt he was wearing. His
favorite guerilla green fatigue, the one he wore during the entire duration of the war.
'Mentally prepare for the worst' he admonished me, 'even for your mother's death, and
make it a habit at all times. You will only come out stronger. No bonding, bindings in life
is forever. Fight your weaknesses first before you can even think of fighting the enemy.'
Here was a soldier talking to me, not a rock legend or even an elder brother.
Referring to many of the song in which the subject matter was death, including his
first hit 'Hey Allah Rey', as well as 'Hariye gechey khujey pabona', 'Jiboney moron keno
ashey', 'Ei gaan e shesh gaan', etc the end emphasis has always been ; birth is an
accident but death a reality. Impermanence is the only truth.
He found it below his dignity to use death as a means of gaining sympathy or making
a huge issue. 'In 1971 we buried our dearest comrades and just moved on, there was no
time to waste as the next fight was not hours but sometime minutes away'.
Back to the show, it was suave and sophistication of the 90's at its peak. The music
was re-arranged, light and sound par excellence, even the outfits for the performers
were custom designed by the fashion house Catseye. VHS video footage of the night, if
they have not been destroyed would be a treasure trove in the history of Bangladesh
rock, nearly 20 years to date.
The crowd swelled and was probably around 3000 plus by the time it was Azam
Khan's slot. There was commotion at the gates and no seats were available. Getting
more people in would be a security and fire risk. Azam Khan summoned me with a
request.
'Go and quickly tell the organizers that they have made enough money already.
Open all the doors and let the audience in. I will ask them to behave. There is
nothing to fear'.
Left with no choice the doors were all opened and the crowd flooded in. Not even an
inch of space was left inside the venue. Nearly 500 people were sitting right on the
stage itself, with enough circular space in the middle for Azam Khan and Uccharon to
perform. All on a sudden Azam Khan jumped inand electrified the screaming
audience.
His bands sound was raw; the inexperienced musicians while getting the chords of
the songs right, had badly tuned guitars. It did not really matter. The sound was rock
and took us all back to the 70's. That was more important and it didn't have to be
meticulously sophisticated as long as Azam Khan was on vocals. Everything else
miraculously fell into place. Cacophony notwithstanding, he was in his elements.
When the show ended his fans went wild in celebration. Several encores later, I was
witness to one of the greatest spectacle in my life. As Azam Khan ended, all the fans


on stage gave him a memorable salute. Everybody prostrated in sijda to the great man
himself. There was no way of denying than Azam Khan was much larger than life.
Without anybody even realizing it, his spirituality had peaked to the supreme. For his
fans he was no longer a rock-legend. For those who knew and understood the
phenomenon, he was indeed, and beyond dispute an Avatar of our times. Time in the
near future will speak for the times that Azam Khan walked on planet earth.
'Shotoro Bochor Por' was a massive success but bad vibes between the pop-rock
legends of the 70s were totally unexpected and embarrassing. Weeks after the mega
event, bickering in press by Fakir Alamgir over some very petty episodes during the
show, marred all possibilities of future reunion concert of the greats.
On 16th December 1995 Feroze Shai passed away. Pilu Mumtaz and Azam Khan a
month from each other, this year -2011,
12. New Controversies: Did Azam Khan die of poverty or Cancer?
Azam Khan was diagnosed with cancer below his tongue as early as April of 2010. The
news at his insistence was kept secret, unfortunately by June of the same year it
leaked out and got him embroiled in a most unwanted controversy. Enough has been
written and said about the topic over the last year and since his death. Therefore in
deference to his dignity and the man that he truly was, the points below are meant for
clarity.
First of all, let this go loud and clear that Azam Khan was for all practical purpose
middle class, with that is not meant that he rolled in money. Material wealth meant
nothing to him and he was a giver, not a taker at any rate. 'Prem' or pure love as he
called it was his offer to Bangladesh and millions of his fans. Yet what we have from
apologists today is an effort to drive down his legacy, make it appear as if he was
helpless and that everybody jumped in at the last moment to bail him out both his
financial miseries, as well as cancer. Nothing is further from the truth.
When cancer was diagnosed, he had enough money to pay for the initial treatment,
but when outsiders got to know about it, the first mistakes were made. One group that
knew the inside story of his financial hardship (not poverty) was keen on his treatment
at the Singapore General Hospital which has a record of treating Ministers, very rich
businessmen and politicians even the late husband of our Prime Minister.
The costs were affordable and being no spent-thrift, Azam Khan had enough saved
over the years to handle his own affairs without anybody's assistance. The 25% extra
cost required could be sourced from his family, who were affluent and would certainly
help. Trouble began when a duo of musician and a TV show host insisted on Mount
Elizabeth Hospital, among the 5 most expensive hospitals in the world, and one he
could ill afford.


However, the second group had their way in convincing Azam Khan that it was only
Mount Elizabeth that could save his life. His self confidence shattered, in time, he too
spoke of treatment in no other hospital. It is for the first time he capitulated to others
opinion.
Enough money was raised through private appeals and in less that 48 hours was
remitted to Singapore. His operation of nearly 10 hours was a complete success. He
was advised 30 temotherapy (modern radiotherapy) courses but his health suffered
after 21 and he returned back home.
What followed later was a shift in his priorities. When visiting Doctors from Mount
Elizabeth Hospital saw him in Dhaka, they were pleased to see that there were no
further cancerous growth and he had healed much better than expectation. They
however insisted on his pending chemotherapy course in Singapore and/or Dhaka if
money was his concern. The simple man he was, he misread the warning and went
around informing everybody that the Doctors have given him a clean bill of health!
His second trip to Singapore with none other than his only son Hridoi for company
would prove traumatic. The first of four recommended aggressive chemotherapy
caused immense sufferings to him and his body could no longer take any more. He
literally fled from hospital and upon his return home, insisted that neither money nor
treatments could save him. He had resigned himself to fate
By January of this year pain in his body grew intense. A local check-up revealed two
sores, one on his right shoulder and the other near his backbone. The cancer had
metastasized and spread to his bones. There was to be no answers, and time was no
longer on his side.
The rapidity of the cancer spreading further debilitated him and by the time he was
admitted to Square Hospital on 22nd May, he had suffered a cardiac arrest. In no time
he was on life support and the cancer reached his lung. Given the very frail condition
of his health, his cancer could no longer be treated. Everything moved in quick
succession and after being shifted to the Combined Military Hospital, the end came on
Sunday the 5th June 2011.
13. Honor to the Honorary: His death and the last FIGHT
When I reached the graveyard for Intellectuals and Freedom Fighters in Mirpur on
Monday the 6th June, the huge crowd and screams did not make it look like a burial
but the boisterous concerts that Azam Khan was legendary for. I could not
immediately understand the issue at hand and the slogan 'Azam Khan VIP' rang the
air.
It turned out, while the Government had given him a Police Guard of Honor for a
national hero earlier at his Kamlapur residence and assigned his internment in
Mirpur, his grave was allocated for those with common people, where new graves


would follow on top of his in three months. There would be no permanent tombstone
of the legendary freedom fighter and rock legend!
He was not to be buried next to the rest of his comrades and other valiant freedom
fighters over a technicality. Azam Khan had officially never received a gallantry award
for his participation in the Liberation War. Technically, he could therefore not be
buried next to Bir Shrestha's and Bir Uttam's?
Defiance by his fans over the injustice grew louder by the minute and all hell was
breaking loose. Police on duty were powerless. In shock, I put my head down in
shame. The only thought and words in my ears were Azam Khan's FIGHT, FIGHT!
In about 90 minutes, words came from the Mukti Jodda Command Council.
Capitulating to wishes of the masses, the Government has assigned him a place with
the rest of his comrades. Cheers went up. Azam Khan has won his last FIGHT.
As I conclude, it is with deep respect I remember my hero, with a life spent fighting for
the oppressed and the many tragedies that he endured, with just a few of which I have
penned. His fight was for the right to free expression and that heralded great changes
in the socio-political cultural landscape of Bangladesh.
If there is any befitting honor we as a nation can pay Azam Khan is to guarantee that
his immortal works are preserved as national treasure and that his children are not
denied, what has been pilfered from him in life even as he lay dying? Money alone
cannot ensure the continuation of his legacy. It is only when his due is guaranteed
and steps taken to right all wrongs will the soul of Azam Khan ever be at peace.
Bangladesh is still a long way away from achieving emancipation for its have not's.
The lessons learnt from Azam Khan must be passed on. The FIGHT must go on.
That is his enduring legacy.

CONCLUDED

History of Bangladesh Rock - The Legacy of Azam Khan-Libre

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History of Bangladesh Rock The Legacy of Azam Khan

Maqsoodul Haque Mac 2013

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